Iliad 5.201

View: By Book

Iliad. . Germany. 2014.

Sponsored by University of Leipzig.

Funding provided by European Social Fund Saxony.

Current edition Experimental

English (Thomas Hobbes, 1667, ed. Molesworth 1843) (OCR draft) (English) (English (Thomas Hobbes, 1667, ed. Molesworth 1843))

Provisional text from uncorrected OCR; expect errors.

Editions (1)
Ἰλιάς Perseus (Homer. Homeri Opera, Volumes 1-2. Monro, D. B. (David Binning), editor; Allen, Thomas W. (Thomas William), editor. Oxford: Clarendon Press, 1908-1920.) — 5.201 focus
ἀλλʼ ἐγὼ οὐ πιθόμην· ἦ τʼ ἂν πολὺ κέρδιον ἦεν·
ἵππων φειδόμενος, μή μοι δευοίατο φορβῆς
ἀνδρῶν εἰλομένων εἰωθότες ἔδμεναι ἄδην.
ὣς λίπον, αὐτὰρ πεζὸς ἐς Ἴλιον εἰλήλουθα
τόξοισιν πίσυνος· τὰ δέ μʼ οὐκ ἄρʼ ἔμελλον ὀνήσειν.
205
ἤδη γὰρ δοιοῖσιν ἀριστήεσσιν ἐφῆκα
Τυδεΐδῃ τε καὶ Ἀτρεΐδῃ, ἐκ δʼ ἀμφοτέροιιν
ἀτρεκὲς αἷμʼ ἔσσευα βαλών, ἤγειρα δὲ μᾶλλον.
τώ ῥα κακῇ αἴσῃ ἀπὸ πασσάλου ἀγκύλα τόξα
ἤματι τῷ ἑλόμην ὅτε Ἴλιον εἰς ἐρατεινὴν
210
ἡγεόμην Τρώεσσι φέρων χάριν Ἕκτορι δίῳ.
εἰ δέ κε νοστήσω καὶ ἐσόψομαι ὀφθαλμοῖσι
πατρίδʼ ἐμὴν ἄλοχόν τε καὶ ὑψερεφὲς μέγα δῶμα,
αὐτίκʼ ἔπειτʼ ἀπʼ ἐμεῖο κάρη τάμοι ἀλλότριος φὼς
εἰ μὴ ἐγὼ τάδε τόξα φαεινῷ ἐν πυρὶ θείην
215
χερσὶ διακλάσσας· ἀνεμώλια γάρ μοι ὀπηδεῖ.
Translations (8)
Iliad Perseus (Homer. The Iliad, Volume 1-2. Murray, A. T. (Augustus Taber), translator. London: William Heinmann; New York: G.P. Putnam's Sons, 1924-1925.) — 5.201 focus
Iliad Perseus (Homer. The Iliad of Homer, rendered into English prose for the use of those who cannot read the original. Butler, Samuel, 1835-1902, translator. London: Longmans, Green, and Co, 1898.) — 5.175 focus
English (Butler, rev. Nagy et al., 2020) (OCR draft) Experimental (English (Butler, rev. Nagy et al., 2020)) — 5.201 focus
but I would not listen to him; it would have been much better if I had done so, but I was thinking about the horses, which had been used to eat their fill, and I was afraid that in such a great gathering of men they might be ill-fed, so I left them at home and came on foot to Ilion [205] armed only with my bow and arrows. These it seems, are of no use, for I have already hit two chieftains, the sons of Atreus and of Tydeus, and though I drew blood surely enough, I have only made them still more furious. I did ill to take my bow down from its peg [210] on the day I led my band of Trojans to lovely Ilion in Hector’s service [ kharis], and if ever I get home again to set eyes on my native place, my wife, and the greatness of my house, may some one cut my head off then and there [215] if I do not break the bow and set it on a hot fire—such pranks as it plays me.”
English (William Cullen Bryant, 1870) (OCR draft) Experimental (English (William Cullen Bryant, 1870)) — 5.201 focus
Æneas, who beheld him scattering thus
The embattled ranks before him, straightway went
Through the thick fight, amid encountering spears,
In search of godlike Pandarus. He found
Lycaon's blameless and illustrious son,
205
And stood before him, and addressed him thus:-
"Where is thy bow, O Pandarus, and where
Thy winged arrows? Where the old renown
In which no warrior here can vie with thee,
And none upon the Lycian shore can boast
210
That he excels thee? Hasten, and lift up
Thy hands in prayer to Jupiter, and send
An arrow at this man, whoe'er he be,
Who thus prevails, and thus afflicts our host,
And makes the knees of many a strong man weak.
215
Strike him, unless he be some god incensed
At Troy for sacrifice withheld, since hard
It is to bear the anger of a god.”
Lycaon's son, the far-renowned, replied: -
"Æneas, leader of the Trojans mailed
220
In brass, to me this man in all things seems
Like warlike Diomed. I know his shield,
High helm, and steeds, and yet I may not say
That this is not a god. But if he be
The chief of whom I speak, the warlike son
225
Of Tydeus, not thus madly would he fight,
Without some god to aid him. By his side
Is one of the immortals, with a cloud
About his shoulders, turning from its aim
The swiftly flying arrow. 'T was but late
230
I aimed a shaft that pierced the hollow mail
On his left shoulder, and I thought him sent
To Pluto, but I slew him not. Some god
Must be offended with me. I have here
No steeds or car to mount. Far off at home
235
There stand within Lycaon's palace-walls
Eleven chariots, fair and fresh and new:
Each has an ample cover, and by each
Are horses yoked in pairs, that champ their oats
And their white barley. When I left my home,
240
Lycaon, aged warrior, counselled me,
Within his sumptuous halls, that with my steeds
And chariot I should lead the sons of Troy
In the fierce battle. I obeyed him not:
Far better if I had. I wished to spare
245
My horses, lest, so largely fed at home,
They might want food in the beleaguered town.
So, leaving them, I came on foot to Troy,
Confiding in my bow, which yet was doomed
To avail me little, for already I
250
Have smitten with my arrows the two chiefs,
Tydides and Atrides, and from both
Drew the red blood, but only made their rage
To flame the fiercer. In an evil hour
I took my bow and quiver from the wall
255
And came to lead the Trojans for the sake
Of Hector. But if ever I return
To see my native country and my wife
And my tall spacious mansion, may some foe
Strike off my head if with these hands I fail
260
To break my bow in pieces, casting it
Into the flames, a useless weapon now."
The Trojan chief Æneas, answering, said: -
"Nay, talk not so; it cannot but be thus,
Until upon a chariot, and with steeds,
265
We try our prowess with this man in war.
Haste, mount my chariot here, and thou shalt see
How well are Trojan horses trained to range
The field of battle, in the swift pursuit
Hither and thither, or in rapid flight;
270
And they shall bring us safely to the town
Should Jove a second time bestow the meed
Of glory on Tydides. Haste, and take
The lash and well-wrought reins, while I descend
To fight on foot; or haply thou wilt wait
275
The foe's advance while I direct the steeds."
Then spake again Lycaon's eminent son: -
"Keep thou the reins, Æneas, and still guide
The horses. With their wonted charioteer,
The better shall they bear away the car
280
Should we be forced to fly before the arm
Of Diomed; lest, taking flight, they range
Unmastered when they hear thy voice no more,
Nor bear us from the combat, and the son
Of Tydeus, having slain us, shall lead thence
285
Thy firm-hoofed coursers. Therefore guide them still,
Them and the chariot, while, with this keen spear,
I wait the Greek, as he is rushing on."
English (Alexander Pope, 1720, ed. Watson, 1857) (OCR draft) Experimental (English (Alexander Pope, 1720, ed. Watson, 1857)) — 5.201 focus
'But, vain with youth, and yet to thrift inclin'd,
'I heard his counsels with unheedful mind,
'And thought the steeds (your large supplies unknown)
'Might fail of forage in the straiten'd town:
255
'So took my bow and pointed darts in hand,
'And left the chariots in my native land.
English (George Chapman, 1611, ed. Hooper 1857) (OCR draft) Experimental (English (George Chapman, 1611, ed. Hooper 1857)) — 5.201 focus
English (William Cowper, 1791, ed. Southey) (OCR draft) Experimental (English (William Cowper, 1791, ed. Southey)) — 5.201 focus
English (F. W. Newman, 1856) (OCR draft) Experimental (English (F. W. Newman, 1856)) — 5 focus

New Alexandria Commentaries

Douglas Frame

comparison of Diomedes and Athena to the Epeian twins (of I.23)

source

analysis of (ep)otrunō in its connections with menos and memona

source
Gregory Nagy

The momentum of the war is spirited, and the fighting mood of the warriors verges on overreaching. An outstanding example is Diomedes, who already owns a glorious past as a conquering hero in the epic tradition known as the Sons of the Seven against Thebes or Epigonoi. Now in the epic present of the Iliad he has a chance to outdo himself, performing deeds so glorious that they would outshine perhaps even the deeds of Achilles, who is now out of the picture. The successes of Diomedes reach the point where he is capable of feats that are superhuman, as when he lifts a rock that even two humans today could not budge—or as when he wounds the god of war himself, Ares, and then, shortly thereafter, the goddess of love and sexuality, Aphrodite. But such momentum is not to last, and the antagonism of Diomedes toward divinities will have its consequences.

draft js image error“Aeneas and Diomedes.” Wenceslaus Hollar (Bohemian, 1607–1677). Image via Wikimedia Commons.

source

The collocation of tektonos huion (τέκτονος υἱόν) ‘son of the joiner [tektōn]’ at I.05.059 with Harmonideō (Ἁρμονίδεω) ‘son of Harmōn’ at I.05.059 indicates three generations of ‘joiners’, in that Phereklos is a son of a joiner who is in turn a son of a joiner. The grandfather Harmōn has a name that can be reconstructed as a noun ar-s-mōn, derived from the verb ar-ar-iskein ‘fit together, join together’. And the grandson Phereklos is said at I.05.061 to have ‘built-as-a-carpenter’, tektainesthai (τεκτήνατο), the ships sailed by Paris=Alexandros for the abduction of Helen. This verb tektainein is derived from the noun tektōn* ‘carpenter, joiner’, which is in turn derived from the verb-root tek(s)-. No longer attested in Greek, this verb-root tek(s)- survives in Latin as texō, which can refer to the craft of woodworking, not only the craft of weaving. On verbal art as woodwork, see HC 2§282n.

source

This micro-narrative about Phereklos, a master carpenter who built that ships sailed by Paris=Alexandros for the abduction of Helen, concerns epic events that precede the narrative arc of the Iliad as we have it—but these events are here explained as the real beginning of that same narrative arc. In terms of this micro-narrative, the plot of the Iliad—in the sense that the name Iliad means ‘the story of Ilion [Troy]’—was started or even caused not by the mēnis ‘anger’ of Achilles, as our Iliad says at the beginning, but rather by an event that preceded that anger. According to this micro-narrative, what really started the Trojan War was the abduction of Helen, which was the kakon ‘bad thing’ that caused all the subsequent bad things, as we read here at I.05.063. And, as predicted at I.05.064, this same event caused the ‘bad thing’ that is about to happen to Phereklos himself. All these events, taken together, thus become part of the overarching plot of the Iliad as we have it.

source

The epithet arkhe-kakoi ‘beginning the evil’ at I.05.063 describes the ships in the previous verse, at I.05.062. These ships, as we have seen, were sailed by Paris=Alexandros for the abduction of Helen. The ominous tone of the epithet, and its positioning in the verse immediately following the mention of the ships, is comparable to the ominous tone of the epithet oulomenē ‘accursed’ at I.01.02 in the verse immediately following the mention of the mēnis ‘anger’ of Achilles in the previous verse, at I.01.01, which is the beginning of the Iliad. Even the meaning of the epithet arkhe-kakoi ‘beginning the evil’ at I.05.063 indicates in its own right the beginning of an epic, though of course this beginning does not correspond to the beginning of the Iliad as we have it. Another point of comparison is the epithet dourateos ‘wooden’ at O.08.493, which is a verse that immediately follows the mention of the hippos ‘horse’ in the previous verse, at O.08.492. Here again we see an ominous mention: this wooden horse, the Trojan Horse, is the marker of yet another potential beginning of an epic narration.

source

Wherever priests (as here at I.05.077–078 and at I.16.604–605) or kings (as in other Homeric contexts: I.10.032–033, I.13.217–218) are said to receive honor as conveyed by the verb tīein ‘honor, give honor to’ (or by the noun tīmē ‘honor’ and the verb tīmân ‘honor, give honor to’, as at I.12.310), Homeric diction is thereby referring indirectly to the receiving of hero cult by a cult hero; such reception happens in the localized context of the dēmos ‘community, district’. The cult of heroes is parallel to, though in some ways different from, the cult of gods, but the cult of gods is likewise conveyed by the verb tīein ‘honor, give honor to’ or by the noun tīmē ‘honor’ and the verb tīmân ‘honor, give honor to’.

source

This verse-final adjective krataiḗ can be explained as a morphologically leveled replacement of an older feminine form, to be reconstructed as krataí-u̯i-ă *and meaning ‘whose power [u̯i-] has the upper-hand [krátos]’. The morphological leveling involves a replacement of the alternation -́i̯ă-/-i̯ā́- by way of non-alternating *-i̯ā́-.

source

This verse shows that the hero Diomedes has a chance to qualify as the ‘best of the Achaeans’, aristos Akhaiōn. In the long run, however, in line with the plot or narrative arc of the Iliad as we have it, Diomedes fails to qualify. Still, his greatest epic moments in the Homeric Iliad are traditionally known as his aristeiā (as in the scholia for I.06.448), which I translate here as ‘epic high point’.

source

Here the verb eukhesthai ‘declare’ expresses a hero’s superiority not overall but only in a one given area of heroic endeavor, archery.

source
Leonard Muellner

different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

source

different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

source

different lines describing deaths of six heroes as examples of the results of the variation aesthetic (the poetics of the battle-books as promoting the preservation of archaisms and stimulating the innovatory usage of a half of a formula outside its conventional context)

source

analysis of whether the verse should have eukhomenos or epeukhomenos

source

this verse as one of two places where the dictional bonds tying together (A1)-(A5) are shattered – resumes the narrative not after prayers but boasts

source

manuscripts attesting this verse with epeukhomenos

source

analysis of other gods’ interference in the fighting after Ares has withdrawn on Athena’s urging as only to restrain and defend

source

analysis of Diomedes’ behavior as parallel to Ares’

source

analysis of divine mēnis at sexual transgressions (regarding amphadiēn as “with the knowledge of Zeus”)

source

analysis of the interconnections of statements of physical prowess, prestige, and identity, in the context of establishing the contextual unity of eukhesthai einai + superlative/comparative and their relationship to the genos eukhesthai einai contexts [MRBTP: 'ff']

source

comparison of the verse with eukhomai einai + superlative with a similar construction attested in the Rig-Veda, in the context of analyzing the etymology of eukhesthai

source

in a list of examples of eukhesthai einai + comparative/superlative (regarding physical prowess, physical beauty, prestige)

source

analysis of the interconnections of statements of physical prowess, prestige, and identity, in the context of establishing the contextual unity of eukhesthai einai + superlative/comparative and their relationship to the genos eukhesthai einai contexts

source

analysis of references to divine mēnis against Trojans in the context of an Achaean warrior’s efforts

source

analysis of recurrent aspects of the mēnis theme, here that group offences incur mēnis

source

in the list of offenses that (threaten to) incur mēnis

source